Ekstrom Peter
Method and apparatus for achieving timbre modulation in an electronic musical instrument2010-03-15 00:00:00AbstractIn a digital musical instrument, timbre modulation is effected through the use of a digital magnitude comparator and associated digital logic. Selected note frequency signals and selected scale factors are compared in the digital magnitude comparator. Selected comparator outputs are applied to the associated digital logic in conjunction with a sample gating signal. This modulation results in a segmentation of the audio waveshape in accordance with the frequency signals selected for use in the comparator. Hence, choice of lower pitched frequency signals will result in a wider segmentation period, while choice of higher pitched frequency signals will narrow the segmentation period. Timbre modulation may be employed during note attack and/or decay.ClaimsI claim:
1. Apparatus for achieving timbre modulation in an electronic musical instrument including an audio wave shape generator responsive to octavely related note frequency signals,comprising:
means for generating a variable magnitude digital signal,
means connected to the audio wave shape generator for generating octavely related note frequency signals,
digital magnitude comparator means for comparing said variable digital signal with said octavely related note frequency signals and for producing an output signal based on predetermined comparisons,
means for generating a sample gating signal indicative of the desired state of the audio wave shape generator, and
digital logic means connected to the audio wave shape generator for accepting said sample gating signal and said digital magnitude comparator output signal and for producing a timbre modulated sample gating signal for controlling the audio waveshape generator.
2. The apparatus according to claim 1 wherein said means for generating said octavely related note frequency signals includes a multiplexed accumulator.
3. The apparatus according to claim 1 wherein said means for generating said variable magnitude digital signal includes a multiplexed attack and decay scale factor generator.
4. The apparatus according to claim 1 further comprising means for generating an attack and decay indicator signal for selectively enabling and disabling said digital logic.
5. The method of achieving timbre modulation of the wave shape generated by an audio wave shape generator, comprising:
(a) generating a variable magnitude digital signal,
(b) generating octavely related note frequency signals,
(c) comparing said variable magnitude digital signal with said octavely related note frequency signals and producing an output signal in response to predetermined comparisons,
(d) generating a digital sample gating signal indicative of the desired state of the audio wave shape generator, and
(e) combining said digital magnitude comparator output signal and said digital sample gating signal to produce a timbre modulated sample gating signal for controlling the audio wave shape generator.
6. The method according to claim 5 wherein said step (a) includes generating a multiplexed variable magnitude digital signal with respect to plural wave shape generator channels.
7. The method according to claim 5 wherein said step (b) includes generating multiplexed octavely related note frequency signals with respect to plural wave shape generator channels.
8. The method according to claim 5 including the steps of generating an attack and decay indicator signal and selectively combining said digital magnitude comparator output signal and said digital sample gating signal based on said attack anddecay indicator signal.DescriptionBACKGROUND OF THE INVENTION
1. Field of the Invention
This invention resides broadly in the field of electronic musical instruments and is particularly adaptable for use in instruments employing a time-division multiplexed signal for calling forth desired tones from those available in theinstrument. The principles of the present invention are applicable to any digital electronic musical instrument in which musical sounds are generated in response to the actuation of key switches regardless of whether those switches are actuateddirectly, e.g. by the musician's fingers, or indirectly, e.g. by the plucking of strings. The term key is used in a generic sense to include depressible levers, actuable on-off switches, touch or proximity responsive devices, closable apertures and soforth. More particularly, the present invention relates to timbre modulation for electronic musical instruments.
2. Description of the Prior Art
Prior art attempts to simulate the transient voice effects of musical timbre have included the momentary sounding of independent "chiff" tones. As a result, the chiff or transient voice effect took on an independent character with limiteddependence on the particular voices selected. U.S. Pat. No. 3,740,450 discloses a "chiff" of this type.
Prior art U.S. Pat. Nos. 3,908,504 and 3,972,259, while disclosing harmonic modulation and pulse width modulation respectively, employ complex and expensive hardware. The inventor knows of no prior art which affords the versatility and costeffectiveness of the present invention.
SUMMARY OF THE INVENTION
The present invention provides a new and unobvious approach to the accomplishment of timbre modulation which is particularly useful in digital electronic musical instruments. The present invention may be used during attack, decay, or both,thereby providing a variety of desirable musical effects.
Briefly, in accordance with the present invention, there is provided a digital magnitude comparator which compares selected note frequency signals to selected scale factors. The outputs of the digital magnitude comparator are combined in digitallogic with a note attack and decay indicator signal. The output of this logic and a ...
Method and apparatus for teaching musical notation to young children2010-03-12 00:00:00AbstractA method for teaching musical notation to children. Each note is associated with a distinctly identifiable color, which is in turn associated with an object which naturally occurs in this color. Each object, in turn, is associated with a cartoon character which prominently incorporates an image of the object. Each character is endowed with a distinctly identifiable personality characteristic which enables the child to utilize the cartoon character in an educational activity. These relationships allow the child to apply relatively sophisticated symbolization techniques which are a part of the child's natural developmental process in order to master the musical notation system.Claims
What is claimed is:
1. A method for teaching a set of musical notes to a child, said method comprising the steps of:
providing a set of physical objects, each said object in said set of objects being characterized by a different color;
matching each musical note i n said set of notes with a selected one of said different colors of said objects in said set of objects;
forming a set of fanciful figures, each said figure in said set of figures prominently incorporating an image of a selected one of said physical objects in said set of objects; and
matching each note in said set of notes with that figure in said set of figures which incorporates an image of that object in said set of objects which is characterized by that color with which that note has been matched.
2. The method of claim 1, wherein the step of matching each said note with a figure further comprises:
matching each object with said first display surface of that demonstration article which predominantly shows said color of that object thereon.
3. The method of claim 2, further comprising the step of:
displaying said second surface of each said demonstration article so as to predominantly show said black color thereon, so as to provide a visual correlation between said figure thereon and a corresponding musical note on a black-and-white musical score.
4. The method of claim 3, wherein the step of forming said figure as a demonstration article having first and second display surfaces comprises:
forming said demonstration article as a two-sided article having an outline in the shape of said fanciful figure, so that said first and second surfaces can be displayed alternately by flipping said figure over, while said outline remains substantially the same in both positions.
5. The method of claim 3, wherein the step of forming said figure as an article having first and second display surfaces comprises:
forming said article of an outer fabric layer predominantly showing said color of said object thereon and an inner fabric layer predominantly showing said black color thereon, said inner and outer fabric layers being joined to form a tubular fabric structure which is selectively eversible so as to alternately expose said inner and outer fabric layers while retaining said outline in the shape of said fanciful figure.
6. The method of claim 1, further comprising the step of:
forming a visual image of said figure which predominantly shows said color of said selected object thereon.
7. The method of claim 6, wherein the step of matching said notes with said figures further comprises:
matching said selected object with said image of said figure which predominantly shows said color of said selected object thereon.
8. The method of claim 6, further comprising the step of:
changing the color of said visual image of said figure so as to predominantly show a black color thereon, so as to provide a visual correlation between said figure and a corresponding note on a black-and-white musical score.
9. The method of claim 1, further comprising the step of:
generating at least one musical tone which corresponds to said musical note, in conjunction with displaying said figure to said child.
10. The method of claim 9, wherein the step of generating at least one musical tone comprises:
playing back a recorded script which incorporates said musical tone therein.
11. The method of claim 10, further comprising the step of:
providing a recorded script which is associated with said figure.
12. The method of claim 11, wherein the step of providing said recorded script comprises:
providing a prerecorded script having blank portions at selected points therein; and
verbally interjecting a child's name into said blank portions in said prerecorded script using a recording apparatus, so that said recorded script forms a simulated dialog between said fanciful figure and a child having said name.
13. The method of claim 11, wherein the step of providing said recorded script comprises:
providing a written script which is associated with said figure; and
dictating said written script into a recording apparatus so as to form said recorded script.
14. The method of claim 13, wherein the step of providing said recorded script further comprises:
verbally interjecting a child's name at selected points in said written script so said recorded script forms a simulated dialog between said fanciful figure and a child having said name.Description
BACKGROUND OF THE INVENTION
1. Field of the Invention
The present invention relates to the educational tools and display apparatus, and more particularly, to a method and apparatus for teaching musical notation and auditory perception to young children, by providing a system of symbols endowed with distinctive characteristics which the child can associate individually with each of the musical notes.
2. Background
Many systems and aids have been proposed for teaching the musical scale to young children. A number of these systems have utilized colors and/or colored objects, while others have taken the form of card games. Illustrative examples of earlier approaches include those set forth in the following U.S. patents:
U.S. Pat. No. 4,819,539 (Searing) discloses a system which employs display cases having horizontal dividers which represent the lines on a staff. The cases hold flash cards showing objects having names which begin with letters which correspond with the positions on the scale, i.e., a flash card showing a pair of gloves is provided for the note "G". A cassette tape device generates the noun, the name of the note, and then the sound of the note, after which the student selects another card; the time required to remove all of the cards is clocked by the device.
U.S. Pat. No. 2,807,183 (Ney) discloses a portable dummy keyboard having a frame 56 which displays the musical staves above the keyboard. The frame supports wires on which colored markers representing each of the keys can be mounted.
U.S. Pat. No. 2,447,213 (Sledge) discloses a color code system in which each of the lines on a staff is provided with its own color, i.e. the "G" line is colored blue, and a small blue house is mounted at the end of the line, drawing the analogy to a street. Markers in the shape of animals having names which begin with the appropriate letters (i.e., a goose for "GG", a bear for the note "B", and so forth) are mountable on the display board and are colored to match the appropriate note line. For example, the goose is colored blue (and is also marked with the letter "G"), and the child is taught that the goose lives in the blue house at the end of the blue street. After the child learns the line with which each note is associated, the colored house for that line is moved to the appropriate key on a dummy piano keyboard made up of blocks 12.
U.S. Pat. No. 2,236,638 (Adams) discloses a device comprising a series of interfitting dummy key blocks which are identical in shape to the keys of a piano, but which are organized according to a color arrangement.
U.S. Pat. No. 2,315,793 (Jay) discloses a system which is somewhat similar to that of Sledge, in that each note has associated therewith the image of an animal whose name begins with the letter which represents that note; i.e., a picture of the head of a goat appears with the note "G" on the printed musical score, along with the letter "G" itself. This same symbol is also displayed on the sides of a hollow toy block which houses swinging chimes which emit the sound of the appropriate note when the block is shaken.
The prior art systems described above all employ some form of symbology, by associating colors and/or images with the notes of the musical scale. However, some of these systems (e.g. Searing) are overly complex for use by very young children, while others (e.g. Adams, Ney, and Sledge) are particularly adapted to teaching the use of a piano keyboard, which may or may not be the object of instructing the child.
More fundamentally, none of these earlier systems makes full use of the capabilities which symbolization offers in education of young children. Recently, it has come to be understood that children employ symbology in changing and increasingly complex patterns very early in life. It is now believed that, beginning at about the age of two, children pass through a series of developmental crests that have been termed "waves". As the child enters each wave, the use of symbolization becomes increasingly sophisticated. In particular, as children approach the more advanced stages of symbolization (around three to five years of age), they commonly show an attraction toward what has been referred to as "second-order" symbolization, in other words, a set of symbols or marks that itself refers to a first set of symbols or marks. It is believed that the impulse to create second-order symbol systems is a deep-seated human inclination which emerges with little provocation. The systems described above generally employ symbology in only the most basic forms, and thus do not take advantage of the powerful, higher-order levels of symbolization towards which children in this age group are naturally inclined.
Moreover, the development of "second-order" symbolization skills is valuable in and of itself. Once the child has devised a symbol system that itself refers to other symbol systems, the possibility of embeddedness emerges; complete systems can be systematically absorbed as component parts into ever more powerful systems, as, for example, when multiplication presumes addition, or when algebra presumes arithmetic. Such high-order systems of notation lie at the very center of many scholastic activities, and the capacity to engage readily in such activities is key to the academic success of a child. As will be described below, the present invention not only takes advantage of higher-order symbolization to achieve the immediate goal of instructing the child regarding the notes of the musical scale, but it fosters the early and continued development of such symbolization for the more general benefit of the child.
The preceding section has discussed the importance of higher-order symbolization in general. With respect the present invention, there are additional reasons for exercising the musical abilities of a child by employing a symbolization process. Firstly, it is now believed that what is generally referred to as human intelligence is actually made up of a plurality of distinct but interrelated "intelligences", each of which appears to be somewhat localized in separate regions of the brain, and each of which is susceptible to capture in a symbolic system. In particular, some specialists have theorized that there are at least seven identifiable "intelligences", namely (i) use of the body to solve problems or to make things, (ii) an understanding of other individuals, (iii) an understanding of ourselves, (iv) language, (v) logical-mathematical analysis, (vi) spatial representation, and (with respect to the present invention in particular) (vii) musical thinking (e.g., see The Unschooled Mind, Howard Gardner, Basic Books, Inc. (1991); Frames of Mind, the Theory of Multiple Intelligences, Howard Gardner, Basic Books, Inc. (1983)).
Although the first six "intelligences" listed above are reasonably well addressed by conventional education programs, there is relatively little emphasis on musical thinking, with the result that this particular intelligence tends to be widely undeveloped in modern Western society. In a broader context, musical intelligence is one of those intelligences which make up what is commonly referred to (from it location) as "right brain" thought; it has become recognized that, although traditional academic programs stress the development of "left brain" skills, it is in fact critical for both types of thought to become fully developed if the individual is to achieve their full potential.
Moreover, it is believed that, amongst all of the identifiable "intelligences", musical thinking is one of the first to be enabled in the development of a child (see references cited above). Therefore, to the extent that this particular intelligence is successfully developed as early as possible, the symbolization and other skills which the child thus acquires enable the other intelligences to be developed at an accelerated rate.
Therefore, there exists a need for a system for teaching musical notes and tones to young children which employs and takes full advantage of the natural ability and tendency of such children to engage in relatively high-order symbolization. Furthermore, there is a need for such a system which develops the child's musical ability or "intelligence" at a relatively early age, so as to enable the child to retain and utilize this ability in related developmental areas.
SUMMARY OF THE INVENTION
The present invention has solved the problems cited above, and is a method for teaching musical notation to young children. Broadly, this comprises the steps of: (a) placing each musical note alongside a distinctly identifiable color, (b) placing each distinctly identifiable color alongside an object which is selected from a group of objects with which the child has previous experience and which has a color exhibited in its natural state which matches the distinctly identifiable color, and (c) placing each object alongside a cartoon character which is formed to prominently incorporate an image of the selected object.
The method may further comprise the step of forming the cartoon character as an article having a first display surface predominantly showing the distinctly identifiable color thereo...
Complete transposable notation and keyboard music system for typists2010-03-10 00:00:00AbstractA typewriter keyboard instrument wherein the keyboard is arranged as a standard typewriter with only letters, numbers, and symbols of the standard keyboard wherein the key with the letter N is assigned to play the note middle C, and wherein each succeeding key to the right plays a note which is a half-step higher than the note played by the preceeding key, and two expanded keyboards; the first expanded keyboard having five additional keys on each end of each row, wherein each additional key plays a note one half-step lower or higher than the adjacent key; and the second expanded keyboard having five additional keys on the right hand end of each row of keys and seven additional keys on the left end of each additional row wherein each additional key plays a note which is one half-step higher or lower than the adjacent keys, and wherein the music for the standard and the expanded keyboards is written with a key designation in the clef and wherein the dark notes have a light letter corresponding to the key to be pressed and the light notes have a dark or black letter in the center thereof to designate the key to be pressed, and wherein an ordinary typist with only a basic knowledge of music can sit down to the instrument, readily read the music, automatically correlate the music to the keyboard, play the instrument and, at will, transpose to any new key to play the music in, simply by moving the placement of his/her home row fingers location to the left or right of the original home row on the expanded keyboards.ClaimsI claim:
1. A keyboard for a musical instrument of a type which includes means for producing musical tones when the keys are touched, wherein each key of the keyboard when pressed plays aparticular note, said keyboard comprising a standard typewriter keyboard wherein each key has a letter, symbol, or number, and wherein the keys of the standard keyboard are arranged in four horizontal rows of ten keys in each row, and wherein the bottomrow is closest to a person playing the instrument, and wherein the row next to the bottom row has its keys offset approximately one-half key-width to the left with respect to the bottom row, and wherein the third row of keys is offset approximatelyone-quarter key-width from the next to the bottom row of keys to the left, and wherein the fourth and top row of keys is offset to the left with respect to the third row of keys approximately one-half key-width, and wherein the sixth key from the left inthe bottom row when pressed plays the note middle C, and wherein the notes played when keys in any row are pressed sequentially from left to right are successively one half-step higher than the note played when the preceding key is pressed, and whereinthe first key in all rows, but the bottom row, when pressed play a note one half-step higher than the note played when the key at the right hand end of the next lower row is pressed, and wherein five additional keys are added to the right hand end ofeach row, and seven additional keys are added to the left hand end of each row, and wherein the additional keys at the right hand end of each row when pressed sequentially from left to right play a note which is one half-step higher than the note playedby pressing the key immediately adjacent to the left, and wherein the additional keys at the left end of each row when pressed sequentially from right to left play a note one half-step lower than the note played when the key immediately adjacent to theright is pressed, and wherein, therefore the additional keys on the left end of the bottom row play lower notes than any keys on the standard keyboard, and wherein, therefore, the additional keys to the right of the top row play notes which are higherthan any notes played by pressing any keys of the standard keyboard, and wherein the additional keys, when pressed, on the left end of the second, third and top rows play redundant notes and these additional keys are designated with the same letter orsymbol as the key in the standard keyboard which plays the same note, and wherein the additional keys on the right hand end of the bottom, second and third rows also play redundant notes when pressed, and these additional keys are designated with theletter, symbol, or number of the key in the standard keyboard which when pressed play the same note, and wherein the additional keys to the right of the top row are from left to right designated 11, 12, 13, 14, and 15, and the additional keys to the leftof the bottom row are designated respectively from right to left as I, II, III, IV, V, VI, and VIII, and wherein the music written for the said instrument comprises a standard musical score with a key designation in a ball in a clef, and said keydesignation being indicated by a letter in the ball, and wherein the letter in the ball designates the specific key which a typist would normally finger using his/her left hand little finger to strike the closest and furthest left key using normal touchtyping techniques thereby designating a home row to the typist, and wherein the notes which are normally light in the center would have dark letters, numbers, or symbols which indicate which key the typist should press, and those notes which are normallydark in the center would have light letters in the center, wherein a typist could sit to the instrument, read the letters, numbers, and symbols on the sheet of music and using his/her normal typing expertise immediately begin playing the musical score.
2. A keyboard for a musical instrument of a type which includes means for producing musical tones when the keys are touched, wherein each key of the keyboard when pressed plays a particular note, said keyboard comprising a standard typewriterkeyboard wherein each key has a letter, symbol, or number, and wherein the keys of the standard keyboard are arranged in four horizontal rows of ten keys in each row, and wherein the bottom row is closest to a person playing the instrument, and whereinthe row next to the bottom row has its keys offset approximately one-half key-width to the left with respect to the bottom row, and wherein the third row of keys is offset approximately one-quarter key-width from the next to the bottom row of keys to theleft, and wherein the fourth and top row of keys is offset to the left with respect to the third row of keys approximately one-half key-width, and wherein the sixth key from the left in the bottom row when pressed plays the note middle C, and wherein thenotes played when keys in any row are pressed sequentially from left to right are successively one half-step higher than the note played when the preceding key is pressed, and wherein the first key on the left end in all rows, but the bottom row, whenpressed play a note one half-step higher than the note played when the key at the right hand end of the next lower row is pressed, and wherein five additional keys are added to each end of each row of the standard keyboard, and wherein the additionalkeys at the right hand end of each row when pressed sequentially from left to right play a note which is one half-step higher than the note played by pressing the key immediately adjacent to the left, and wherein the additional keys at the left end ofeach row when pressed sequentially from right to left play a note one half-step lower than the note played when the key immediately adjacent to the right is pressed, and wherein, therefore the additional keys on the left end of the bottom row play lowernotes than any keys on the standard keyboard, and wherein, therefore, the additional keys to the right of the top row play notes which are higher than any notes played by pressing any keys of the standard keyboard, and wherein the additional keys, whenpressed, on the left end of the second, third, and top rows play redundant notes and these additional keys are designated with the same letter or symbol as the key in the standard keyboard which plays the same note, and wherein the additional keys on theright hand end of the bottom, second and third rows also play redundant notes when pressed, and these additional keys are designated with the letter, symbol, or number of the key in the standard keyboard which when pressed will play the same note, andwherein the additional keys to the right of the top row are from left to right designated 11, 12, 13, 14, 15, and the additional keys to the left of the bottom row are designated respectively from right to left as I, II, III, IV, and V, and wherein themusic written for the said instrument comprises a standard musical score with key designation in a ball in a clef, and said key designation being indicated by a letter in the ball, and wherein the letter in the ball designates the specific key which atypist would normally finger using his/her left hand little finger to strike the closest and furthest left key using normal touch typing techniques thereby designating a home row to the typist, and wherein the notes which are normally light in the centerwould have dark letters, numbers, or symbols which indicate which key the typist should press, and those notes which are normally dark in the center would have light letters in the center, wherein a typist could sit to the instrument, read the letters,numbers, and symbols on the sheet of music and using his/her normal typing expertise immediately begin playing the musical score.DescriptionBACKGROUND
1. Field of the Invention
This invention relates primarily to a method of writing music for typewriter keyboards, and an instrument for playing said written music with an emphasis on the ease with which a typist can transpose to new keys in music.
2. Description of the Prior Art
Keyboard instruments are old in the history of the human race. The most well known at the present time are probably the piano, the organ, and the accordian. Recently, however, there have been developments in the field of communications,computers, and printing. As a result, there are a great many people who are completely familiar with...
Musical instrument bridge2010-03-09 00:00:00AbstractA musical instrument bridge (50) is supporting a set of strings (22) above a front face (14) of a musical instrument (12). The bridge has a plate (60), a mounting block (80), and a plurality of fingers (100). The plate is attachable to a rear face of the instrument. The plurality of fingers are cantilevered from the plate and extend outwardly therefrom. Each finger has a resonant frequency or rigidity that is related to a predetermined pitch of the string supported by the finger. Each finger is designed to vibrate in a plane that is parallel to the front face of the instrument but to reduce vibration in a plane perpendicular to the front face of the instrument.Claims
The embodiments of the invention in which an exclusive property or privilege is claimed are defined as follows:
1. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate, each of said fingers having a resonant frequency and being configured to support a string of the set of strings above the front face of the musical instrument, said fingers being arranged in a row such that a first finger of said several fingers is disposed at one end of the row, a second finger of said set fingers is disposed at an opposite end of the row and all other of said several fingers are disposed intermediate said first and second fingers with no additional fingers located outward of said first and second fingers, the resonant frequency of said first finger being different than the resonant frequency of said second finger.
2. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of said first and second fingers having a width dimension, the width dimension of the waist portion of the first finger being different than a width dimension of the waist portion of the second finger.
3. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the head portion of each of the first and second fingers having a hold therein, the hole of the head portion of the first finger being a different size than the size of a hole of the head portion of the second finger.
4. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second fingers having a pair of opposing slots that extend lengthwise along a length of the waist portion, the opposing slots of the first finger having a dimension that is different than a dimension of the opposing slots of the second finger.
5. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a mass, the mass of the first finger being different than the mass of the second finger.
6. The musical instrument bridge of claim 1, wherein each of the first and second fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second fingers having a groove that extends between the base portion of such finger and the waist portion of such finger, the groove of the first finger having a length that is different than a length of the groove of the second finger.
7. The musical instrument bridge of claim 1, further comprising a mounting block disposed between the plate and the fingers.
8. The musical instrument bridge of claim 7, wherein the mounting block and the base portion of each of said fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
9. The musical instrument bridge of claim 7, wherein the mounting block includes a plurality of slots into which each of said fingers is secured.
10. The musical instrument bridge of claim 9, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
11. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate, each of said fingers having a resonant frequency and being configured to support a string of the set of strings above the front face of the musical instrument, said fingers being arranged in a row such that two of said fingers define a first end finger and a second end finger disposed, respectively, at opposite ends of the row and a first mid finger and a second mid finger disposed intermediate said first and second end fingers, the resonant frequency of said first mid finger being different than the resonant frequency of said second mid finger.
12. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second mid fingers having a width dimension, the width dimension of the waist portion of the first finger being different than the width dimension of the waist portion of the second mid finger.
13. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the head portion of each of the first and second mid fingers having a hole therein, the hole of the head portion of the first mid finger being a different size than a size of the hole of the head portion of the second mid finger.
14. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, the waist portion of each of the first and second mid fingers having a pair of opposing slots that extend lengthwise along a length of the waist portion, the opposing slots of the first mid finger having a dimension that is different than a dimension of the opposing slots of the second mid finger.
15. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second mid fingers having a mass, the mass of the first mid finger being different than the mass of the second mid finger.
16. The musical instrument bridge of claim 11, wherein each of the first and second mid fingers has a base portion that is secured to the plate, a head portion that is configured to anchor an end of the string supported by the finger and a waist portion that extends between the base portion and the head portion, each of the first and second mid fingers having a groove that extends between the base portion of such finger and the waist portion of such finger, the groove of the first mid finger having a length that is different than a length of the groove of the second mid finger.
17. The musical instrument bridge of claim 11, further comprising a mounting block disposed between the plate and the fingers.
18. The musical instrument bridge of claim 17, wherein the mounting block and the base portion of each of said fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
19. The musical instrument bridge of claim 17, wherein the mounting block includes a plurality of slots into which each of said fingers is secured.
20. The musical instrument bridge of claim 19, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
21. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate in a row, each of said fingers being configured to support a string of the set of strings above the front face of the musical instrument, wherein each of said fingers includes:
a base portion that is secured to the plate;
a head portion that is configured to anchor an end of the string supported by the finger; and
a waist portion that extends between the base portion and the head portion, the waist portion of each of said fingers having a width dimension, wherein the waist portion of a first finger of said several fingers has a width dimension that is different than the width dimension of the waist portion of a second finger of said several fingers.
22. The musical instrument bridge of claim 21, wherein each of the first and second fingers has a resonant frequency, the resonant frequency of the first finger being different than the resonant frequency of the second finger.
23. The musical instrument bridge of claim 21, further comprising a mounting block disposed between the plate and the fingers.
24. The musical instrument bridge of claim 23, wherein the mounting block and the base portion of each of the fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
25. The musical instrument bridge of claim 23, wherein the mounting block includes a plurality of slots into which each of the fingers is secured.
26. The musical instrument bridge of claim 23, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
27. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate in a row, each of the fingers being configured to support a string of the set of strings above the front face of the musical instrument, wherein each of the fingers includes:
a base portion that is secured to the plate;
a head portion that is configured to anchor an end of the string supported by the finger; and
a waist portion that extends between the base portion and the head portion, the head portion of each of the fingers having a hole therein, wherein the hole of the head portion of a first finger of the several fingers is a different size than a size of the hole of the head portion of a second finger of the several fingers.
28. The musical instrument bridge of claim 27, wherein each of the first and second fingers has a resonant frequency, the resonant frequency of the first finger being different than the resonant frequency of the second finger.
29. The musical instrument bridge of claim 27, further comprising a mounting block disposed between the plate and the fingers.
30. The musical instrument bridge of claim 29, wherein the mounting block and the base portion of each of the fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
31. The musical instrument bridge of claim 29, wherein the mounting block includes a plurality of slots into which each of the fingers is secured.
32. The musical instrument bridge of claim 29, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
33. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate in a row, each of the fingers being configured to support a string of the set of strings above the front face of the musical instrument, wherein each of the fingers includes:
a base portion that is secured to the plate;
a head portion that is configured to anchor an end of the string supported by the finger; and
a waist portion that extends between the base portion and the head portion, the waist portion of each of the fingers having a pair of opposing slots that extend lengthwise along a length of the waist portion, the opposing slots of a first finger of the several fingers having a dimension that is different than a dimension of the opposing slots of a second finger of the several fingers.
34. The musical instrument bridge of claim 33, wherein each of the first and second fingers has a resonant frequency, the resonant frequency of the first finger being different than the resonant frequency of the second finger.
35. The musical instrument bridge of claim 33, further comprising a mounting block disposed between the plate and the fingers.
36. The musical instrument bridge of claim 35, wherein the mounting block and the base portion of each of the fingers have respective interfitting portions including a groove and an outwardly extending lip received in the groove.
37. The musical instrument bridge of claim 35, wherein the mounting block includes a plurality of slots into which each of the fingers is secured.
38. The musical instrument bridge of claim 35, wherein each of the fingers is secured to the mounting block independently of any other of the fingers.
39. A musical instrument bridge for supporting a set of strings above a front face of a musical instrument, wherein each string of the set of strings is tuned to a predetermined pitch when the musical instrument is played, the musical instrument bridge comprising:
a plate that is attachable to the musical instrument;
several fingers cantilevered from the plate in a row, each of the fingers being configured to support a string of the set of strings above the front face of the musical instrument, wherein each of the fingers includes:
a base portion that is secured to the plate;
a head portion that is configured to anchor an end of the string supported by the finger; and
a waist portion that extends between the base portion and the head portion, each of the fingers having a mass, the mass of a first finger of the several fingers being different than the mass of a second finger of the several fingers.
40. The musical instrument bridge of claim 39, wherein each of the first and second fingers has a resonant frequency, the resonant frequency of the first finger being different than the resonant frequency of the second finger.
41. The musical instrument bridge of claim 39, further comprising a mounting block disposed between the plate and the fingers.
42. Th...
Method for operating a musical instrument2010-03-08 00:00:00AbstractThe present invention provides a method for operating a musical instrument, especially a keyboard instrument such as a piano. In one embodiment, a keyboard instrument is provided which is operable for producing a musical sound. The keyboard instrument is used in combination with a musical staff on which a musical composition has been recorded. The staff has a structure that corresponds with the arrangement of keys on a keyboard such that notes recorded in spaces on the staff correspond to white keys of the keyboard instrument and notes recorded on lines correspond to black keys of the keyboard instrument. The keyboard instrument is operated by depressing the appropriate corresponding white key for a note recorded on a space of the staff and depressing the appropriate black key for a note recorded on a line of a staff.Claims
I claim:
1. A method for producing pitches of sound corresponding to a musical composition represented by noteheads visually depicted on a musical staff, the method of comprising the steps of:
producing sound responsive to said noteheads, said sound comprising pitches of said musical composition as represented by said noteheads visually depicted on said musical staff;
said musical staff comprising five substantially parallel and visually observable lines grouped in two groups, a first group consisting of three lines and a second group consisting of two lines, wherein said first group is separated from said second group by a distance that is larger than the spacing between lines within either of said first and second groups;
wherein, each line of said first group has a visually distinctive appearance relative to each line of said second group and wherein a first line of said first group of lines has a visually observable width that is smaller than the widths of the other two lines of said first group, so that said pitches will be easily identifiable when some of said noteheads are visually depicted in said first group and some of said noteheads are visually depicted in said second group.
2. The method of claim 1, wherein:
each of said lines of said first group has a visually observable width that is larger than each of said lines of said second group.
3. The method of claim 1, wherein:
said width of said first line is about one half as large as said widths of said other two lines of said first group.
4. The method of claim 1, wherein:
said three lines within said first group and said two lines within said second group have relative line widths substantially as shown in FIG. 14.
5. The method of claim 1, wherein:
during said step of producing said sound, said sound is produced by a musical instrument.
6. The method of claim 5, wherein:
said musical instrument comprises a keyboard; and
said step of producing said musical sound includes depressing a black key to produce a pitch of said sound when one of said noteheads corresponding to said pitch is visually depicted as being on one of said lines of said staff and depressing a white key to produce a pitch of said sound when one of said noteheads corresponding to said pitch is visually depicted as occupying a space between two of said lines.
7. The method of claim 1, wherein:
said five substantially parallel lines being substantially horizontally extending during said step of producing said sound.
8. A method for producing pitches of sound corresponding to a musical composition represented by noteheads visually depicted on a musical staff, the method comprising the steps of:
producing sound responsive to said noteheads, said sound comprising pitches of said musical composition as represented by said noteheads visually depicted on said musical staff;
said musical staff including at least 15 substantially parallel lines, which are substantially horizontal during said step of producing said sound and which are divided into at least two staff portions, with a first staff portion including seven lines arranged in three groups and a second staff portion including eight lines arranged in three groups, with the first staff portion and the second staff portion being separated by a distance that is larger than the spacing between groups of lines within said first staff portion and said second staff portion;
said three groups including said seven lines of said first staff portion including a first group consisting of three of said seven lines and second and third groups each consisting of two of said seven lines, wherein said first group is located between said second and third groups with each of said first, second and third groups being separated from any other adjacent of said first, second and third groups by a distance that is larger than spacing between lines within any of said first, second and third groups;
said three groups including said eight lines of said second staff portion including a fourth group consisting of two of said eight lines and fifth and sixth groups each consisting of three of said eight lines, wherein said fourth group is located between said fifth and sixth groups with each of said fourth, fifth and sixth groups being separated from any other adjacent of said fourth, fifth and sixth groups by a distance that is larger than spacing between lines within any of said fourth, fifth and sixth groups;
wherein, two lines of each of said first, fifth and sixth groups have a visually distinctive appearance relative to all other lines in said first, second, third, fourth, fifth and sixth groups.
9. The method of claim 8, wherein:
during said step of producing said sound, said first staff portion is positioned vertically higher than said second staff portion.
10. The method of claim 8, wherein:
each of said first, fifth and sixth groups has two outer lines and a middle line, with said two outer lines of each of said first, fifth and sixth groups having said visually distinctive appearance.
11. The method of claim 10, wherein:
said middle line in each of said first, fifth and sixth groups has a visually observable width that is larger than lines of said second, third and fourth groups.
12. The method of claim 10, wherein:
said two outer lines in each of said first, fifth and sixth groups have a visually observable width that is larger than other lines in said first, second, third, fourth, fifth and sixth groups.
13. The method of claim 12, wherein:
said sound is produced utilizing a keyboard instrument.
14. The method of claim 8, wherein:
said two staff portions have relative line widths and orientation substantially as shown in FIG. 14.Description
FIELD OF THE INVENTION
This invention relates to a method for operating a musical instrument to produce sounds corresponding to a musical piece. The method is particularly useful for identifying and activating the appropriate keys of a keyboard instrument, such as a piano.
BACKGROUND OF THE INVENTION
Musical sounds have been produced for hundreds of years by musicians operating musical instruments by reading music from a conventional music staff and manipulating the musical instrument to create sound corresponding to the music represented on the musical staff. According to the conventional music notation system currently in use, symbols are placed on a series of parallel, horizontal lines, called a staff, to depict tones of the music being visually recorded. The conventional staff consists of five uniformly spaced, horizontal lines and the intervening spaces. Graphic symbols, often referred to as notes, are positioned on the staff on a line, in a space between two lines, in the space immediately above the top line, and in the space immediately below the bottom line. Additional notes can be shown above or below the described position by the use of ledger lines, which are used to show how far up, or down, the note is. Counting ledger lines can be a serious problem, adding confusion to the process of reading music, for both the novice and the experienced musician or vocalist.
Clefs are graphic characters placed on the staff to locate the position of a note that represents a specific pitch. The positions of other notes representing other pitches are then determined relative to the fixed note. The most common clefs are the bass (indicating that the fourth line from the bottom is "F below middle C") and the treble clef (indicating that the second line from the bottom is "G above middle C"). The "C" clef is used on any of the first four lines to indicate the location of "middle C" and becomes the soprano clef, the mezzo soprano clef, the alto clef or the tenor clef, respectively. The "C" clef is used to minimize the number of ledger lines that would be needed for a given piece that would be encompassed by the ranges served by the bass or treble clefs.
Notes are placed on the staff to show both the pitch and the rhythmic or durational value of the represented tone. The note has a notehead, being the body of the note. The position of a notehead on the staff indicates the pitch of the represented tone, and especially the pitch relative to the pitch of the note fixed in position by the clef. The conventional notehead has a generally rounded shape that appears somewhat elliptical. The rhythmic value of the represented tone is indicated by the relative size of the notehead, whether the notehead is blackened or unblackened, and by adding additional symbolization such as stems and flags.
One problem with the conventional notation system is that the conventional staff is used to serve a greater range than the approximate octave and a half it can easily represent, including the use of clefs and ledger lines. To increase the number of pitches available in the staff, a system of key signatures and "accidentals" is used. A group of flats or sharps characters, referred to as key signatures, is placed at the left end of the staff, immediately to the right of the clef, to indicate the set of pitches that comprise the predominant scale. "Accidental" markings are then placed to the left of the noteheads to indicate temporary alterations of the basic scale. Therefore, a notehead located at any given position on the staff could represent more than one pitch. This anomaly in conventional music notation is a historical accident and contributes to confusion in reading music from a conventional staff.
For example, the standard keyboard instrument, such as a piano, contains eighty-eight keys. Each key represents a different pitch. Twelve pitches, represented by twelve consecutive keys, make up an octave. Therefore, the standard keyboard contains keys representing seven octaves plus four additional pitches. The twelve pitches within any octave are represented by a group of seven white keys and five black keys, beginning with the note named "C" and ending with the note named "B." In conventional notation, insufficient space has been allocated on the staff to accommodate a separate position for each of the twelve pitches in an octave. Therefore, the black keys are generally represented using key signature marks or "accidentals," indicating sharps or flats. The use of key signature and "accidentals" is inherently complex.
Confusion is further added by the fact that a note representing a given pitch that appears on a line in one octave, will appear in a space in the next higher or lower octave, and so forth, thereby constantly altering its appearance. Therefore, the musician cannot with complete ease distinguish a pitch by its location on a conventional staff. Complexity in the conventional system is also added because, for the top twenty five or so pitches of a standard keyboard beginning with about "high C," and for the bottom sixteen or so pitches beginning with "low C," notes represented on a conventional staff must include such a large number of ledger lines for representation that musicians commonly get confused, and in some cases, are forced to stop and count them.
From the foregoing, it can be seen that an operator of a musical instrument using conventional music notation is required to process a significant amount of information using a difficult system in order to produce a musical sound from the musical instrument.
The problems with using conventional notation with musical instruments have long been recognized. Some attempts have been made to provide improvements.
For example, U.S. Pat. No. 104,393 by Wright issued Jun. 14, 1870 proposed the use of a staff having alternating groups of two and three lines with wider spaces between groups than between lines within groups. The lines would correspond to black keys on a keyboard and the spaces would correspond to white keys on a keyboard. Several alternating groups of two and three lines could be used to accommodate multiple octaves of interest for any particular piece of music.
Joseph Matthias Hauer, Report of the First Conference of the Music Notation Modernization Association, 1988 (July 1991), presents a "Zwolftonschrift" (twelve tone script) that is the staff disclosed by Wright, but having conventional notation drawn on it.
Several problems, however, exist with the staff proposed by Wright, and the use of conventional notation on that staff as proposed by Joseph Matthias Hauer.
First, and foremost, although the conventional staff and notation on the staff are awkward, use of the conventional system is deeply ingrained in the music profession. A multitude of music has been written using the conventional system and practitioners are familiar with the system. There is a tremendous amount of momentum to retain the conventional system.
The repeating group of alternating two and three lines proposed by Wright is similar enough to the standard staff consisting of five lines that a musician could easily confuse the staff for a conventional staff. In such a case the musician trained to use a conventional staff would not be benefitted by the use of Wright's staff. The potential for confusing Wright's staff with the conventional staff is amplified by the use of conventional notation as proposed by Joseph Matthias Hauer. The unwary musician who is concentrating on translating written music during reading may confuse Wright's staff with the conventional system.
Second, the staff proposed by Wright is awkward. For example, for a piano composition that crosses several octaves, many alternating groups of two and three lines would be required to show all of the notes. Reading music from such a large number of staff lines could be just as awkward and confusing as dealing with large numbers of ledger lines used in the conventional system.
Third, the Wright scale requires that the musician must adjust to the visual movement up or down across twelve positions on the staff of Wright to accomplish the same change in pitch accomplished by moving up or down only seven positions on the conventional staff. Therefore, the musician who is used to the conventional notation system could become confused when attempting to read music from the staff of Wright.
A need exists for an improved method for operating a musical instrument to produce musical sounds which avoids the awkwardness and complexity involved with using the conventional notation system.
SUMMARY OF THE INVENTION
The present invention provides a method for operating a musical instrument to produce a sound in which a new music notation system is used to provide an easily identifiable correspondence between the music notation and the musical instrument being operated, especially when the musical instrument is a keyboard instrument, such as a piano.
In one embodiment, a keyboard instrument is provided having both black and white keys, such as would be found on a standard piano keyboard. A staff is provi...
Method and apparatus for automatic variable articulation and timbre assignment for an electronic musical instrument2010-03-06 00:00:00AbstractA signal processor acts upon a stream of incoming musical performance data including note-on signals and outputs a stream of musical performance data including note-on and note-off signals. The incoming performance data is dispatched to a multiplicity of output channels depending on the time interval between successive incoming note-on data. Notes played in very rapid succession are identified as chords and are performed with identical musical parameters such as duration and instrumental timbre. Notes played in slow succession are identified as polyphonic and are performed with the same instrumental timbre. Notes played at an intermediate speed are identified as melodic and are performed with the same instrumental timbre and a variable staccato or legato effect. A variable legato effect is achieved by controlling the overlap of successive pairs of notes, adjusting the release of the first note with respect to the onset of the second note as a function of the time interval between their onsets, and limiting the number of notes that can sound simultaneously. A variable staccato effect is achieved by controlling the duration of each note as a function of the time interval between the note and its predecessor, and limiting the number of notes that can sound simultaneously.Claims
What is claimed is:
1. An electronic musical instrument, comprising:
means for supplying performance data for a first note and for a second note;
a processor for setting durations of said first and second notes in accordance with said performance data, wherein said processor sets an initial duration of said first note without regard to the performance data of said second note, determines a time interval N between a start time of said first note and a start time of said second note, and adjusts the initial duration of the first note as a function of said time interval N when the initial duration of said first note is greater than said time interval N; and
a tone generator for generating tones in accordance with the durations of said first and second notes set by said processor.
2. The electronic musical instrument according to claim 1, wherein said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note.
3. The electronic musical instrument according to claim 1, wherein, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N.
4. The electronic musical instrument according to claim 1, wherein said performance data includes velocity data indicating a force with which each note is played and a pitch of each note, wherein said processor sets the initial duration of said first note as a function of at least one of: the velocity data corresponding to said first note; the pitch of said first note; a time interval N-1 between the start time of said first note and the start time of a previous note; and a predetermined duration.
5. The electronic musical instrument according to claim 1, further comprising a selector for selecting one of a first melodic mode and a second melodic mode, wherein:
when the first melodic mode is selected, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N; and
when the second melodic mode is selected, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note.
6. The electronic musical instrument according to claim 1, wherein said means for supplying performance data is at least one of: a music controller; a playable controller interface; and a data transmission line.
7. The electronic musical instrument according to claim 6, wherein said music controller is at least one of: a keyboard, a xylophone-type keyboard, an array of drum pads and a keyed wind instrument.
8. The electronic musical instrument according to claim 1, wherein said tone generator is a polyphonic tone generator.
9. The electronic musical instrument according to claim 1, wherein said tone generator is a multi-channel, multi-timbral tone generator.
10. An apparatus for controlling an articulation between successive musical notes, comprising:
a note classifier for classifying at least a first note in accordance with performance data relating thereto, wherein said note classifier determines a time interval N-1 between a start time of said first note and a start time of an immediately previous note and determines a time interval N between the start time of said first note and a start time of an immediately subsequent note, classifies said first note and said immediately previous note as chord notes when the time interval N-1 is less than a first threshold time, classifies said first note as a polyphonic note when the time interval N-1 is greater than a second threshold time, and classifies said first note as a melodic note when the time interval N-1 is between said first and second threshold times; and
a processor for setting a duration of at least said first note in accordance with a classification of said first note by said note classifier, such that: when said first note and said immediately previous note are classified as chord notes, durations of said first note and said immediately previous note are substantially overlapped; when said first note is classified as a polyphonic note, said processor sets a duration of said first note; and, when said first note is classified as a melodic note, said processor sets an initial duration of said first note and adjusts the initial duration of the first note as a function of said time interval N if the initial duration of said first note is greater than said time interval N.
11. The apparatus according to claim 10, wherein said processor sets the initial duration of said first note as a function of at least one of: a velocity at which said first note is played; a pitch of said first note; the time interval N-1; and the second threshold time.
12. The apparatus according to claim 10, further comprising a selector for selecting one of a first melodic mode and a second melodic mode, wherein:
when the first melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N; and
when the second melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N.
13. The apparatus according to claim 12, further comprising a tone generator for generating tones in accordance with the duration of said first note, wherein:
when the first melodic mode is selected and said first note is classified as a melodic note, said tone generator generates at most two tones at a time; and
when the second melodic mode is selected and said first note is classified as a melodic note, said tone generator generates only a single tone at a time.
14. The apparatus according to claim 10, wherein, when said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N.
15. The apparatus according to claim 10, wherein, when said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, said processor adjusts the initial duration of said first note to a duration substantially equal to the time interval N.
16. The apparatus according to claim 10, wherein, when said first note and said immediately previous note are classified as chord notes, said processor sets a common start time and a common duration for said first note and said immediately previous note.
17. The apparatus according to claim 10, wherein said processor includes a first output channel, a second output channel, and a third output channel, wherein chord notes are assigned to said first output channel, melodic notes are assigned to said second output channel, and polyphonic notes are assigned to said third output channel.
18. An apparatus for controlling an articulation between successive musical notes, comprising:
means for supplying performance data for a first note and for a second note; and
a processor responsive to said performance data for determining a time interval N between a start time of said first note and a start time of said second note and setting a duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N.
19. An apparatus for controlling an articulation between successive musical notes, comprising:
means for supplying performance data for a first note, a second note and a third note; and
a processor responsive to said performance data for determining a time interval N-1 between a start time of said first note and a start time of said second note, setting an initial duration of said second note to a duration less than the time interval N=1, determining a time interval N between a start time of said second note and a start time of said third note, and, if the time interval N is less than the initial duration of said second note, adjusting the initial duration of said second note to a duration substantially equal to the time interval N.
20. An apparatus for generating a chord of pitches, comprising:
means for supplying performance data corresponding to individual notes, the performance data including a note-on time and pitch data for each note;
a processor responsive to the performance data of a sequence of at least two notes, for setting a common start time and a common duration for every note in the sequence when, for each note in the sequence, a duration between the note-on time of a note and the note-on time of an immediately subsequent note is less than a predetermined time interval; and
a tone generator for simultaneously generating a plurality of tones at said common start time for said common duration, said tones having pitches that correspond to the pitch data of said sequences of at least two notes.
21. A method for controlling an articulation between successive musical notes, comprising the steps of:
receiving performance data for a first note and for a second note;
setting an initial duration of said first note without regard to the performance data of said second note;
determining a time interval N between a start time of said first note and a start time of said second note based on said performance data;
adjusting the initial duration of the first note as a function of said time interval N when the initial duration of said first note is greater than said time interval N; and
generating tones in accordance with durations of said first and second notes.
22. The method according to claim 21, wherein, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note to a duration substantially equal to the time interval N.
23. The method according to claim 21, wherein, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N.
24. The method according to claim 21, wherein said performance data includes velocity data indicating a force with which each note is played and a pitch of each note, wherein said setting step includes setting the initial duration of said first note as a function of at least one of: the velocity data corresponding to said first note; the pitch of said first note; a time interval N-1 between the start time of the first note and the start time of a previous note; and a predetermined duration.
25. The method according to claim 21, further comprising the step of selecting one of a first melodic mode and a second melodic mode, wherein:
when the first melodic mode is selected, if the time interval N is less than the initial duration of said first note, said adjusting steps includes adjusting the initial duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N; and
when the second melodic mode is selected, if the time interval N is less than the initial duration of said first note, said adjusting step includes adjusting the initial duration of said first note to a duration substantially equal to the time interval N.
26. A method for controlling an articulation between successive musical notes, comprising the steps of:
determining a time interval N-1 between a start time of a first note and a start time of an immediately previous note based on performance data relating thereto;
determining a time interval N between a start time of said first note and a start time of an immediately subsequent note based on performance data relating thereto;
classifying said first note and said immediately previous note as chord notes when the time interval N-1 is less than a first threshold time;
classifying said first note as a polyphonic note when the time interval N-1 is greater than a second threshold time;
classifying said first note as a melodic note when the time interval N-1 is between said first and second threshold times;
when said first note and said immediately previous note are classified as chord notes, substantially overlapping durations of said first note and said immediately previous note;
when said first note is classified as a polyphonic note, setting a duration of said first note; and
when said first note is classified as a melodic note, setting an initial duration of said first note and adjusting the initial duration of the first note as a function of said time interval N if the initial duration of said first note is greater than said time interval N.
27. The method according to claim 26, wherein the initial duration of said first note is set as a function of at least one of: a velocity at which said first note is played; a pitch of said first note; the time interval N-1; and the second threshold time.
28. The method according to claim 26, further comprising the steps of:
selecting one of a first melodic mode and a second melodic mode;
when the first melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, adjusting the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent is a function of the time interval N; and
when the second melodic mode is selected and said first note is classified as a melodic note, if the time interval N is less than the initial duration of said first note, adjusting the initial duration of said first note to a duration substantially equal to the time interval N.
29. The method according to claim 28, further comprising the step of:
generating tones in accordance with the durations of said first and second notes, wherein: when the first melodic mode is selected and said first note is classified as a melodic note, at most two tones are generated at a time; and, when the second melodic mode is selected and said first note is classified as a melodic note, only a single tone is generated at a time.
30. The method according to claim 26, further comprising the step of adjusting the initial duration of said first note such that a time of overlap between said first note and said immediately subsequent note is a function of the time interval N if the time interval N is less than the initial duration of said first note and said first note is classified as a melodic note.
31. The method according to claim 26, further comprising the step of adjusting the initial duration of said first note to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said first note and said first note is classified as a melodic note.
32. The method according to claim 26, further comprising the step of setting a common start time and a common duration for said first note and said immediately previous note when said first note and said immediately previous note are classified as chord notes.
33. The method according to claim 26, further comprising the steps of:
assigning chord notes to a first channel;
assigning polyphonic notes to second channel; and
assigning melodic notes to a third channel.
34. A method for controlling an articulation between successive musical notes, comprising the steps of:
receiving performance data for a first note and for a second note;
determining a time interval N between a start time of said first note and a start time of said second note based on said performance data;
setting a duration of said first note such that a time of overlap between said first note and said second note is a function of the time interval N.
35. A method for controlling an articulation between successive musical notes, comprising the steps of:
receiving performance data for a first note a second note, and a third note;
determining a time interval N-1 between a start time of said first note and a start time of said second note based on said performance data;
setting an initial duration of said second note to a duration less than the time interval N-1;
determining a time interval N between a start time of said second note and a start time of said third note based on said performance data;
adjusting the initial duration of said second to a duration substantially equal to the time interval N if the time interval N is less than the initial duration of said second note.
36. A method for generating a chord of pitches, comprising the steps of:
receiving performance data corresponding to in...
Method and Apparatus for Playing in Synchronism with a CD an Automated Musical Instrument2010-03-04 00:00:00Abstract text
The invention disclosed is a system for playing a music sequence such as a MIDI file in synchronization with a prerecorded CD. The synchronization is accomplished by using the digital media sample rate as a common time base for progression of the playing of the digital media and the music sequence.Claims
1. An apparatus for playing an automated musical instrument in synchronism with an audio track of a CD, the apparatus including: a source for a music sequence including time stamped articulation events; a CD drive in communication with a controller, the CD drive capable of playing an audio track on a CD; the controller in communication with the source for a music sequence and in communication with the automated musical instrument, the controller providing the articulation events to the automated musical instrument, the controller further including a digital to analog converter to convert the audio track to an analog signal for play, the digital to analog converter providing the controller with a progress status of the time since the beginning of the play of the analog signal, the controller using the progress status of time as a time base for providing the time stamped articulation events to the automated musical instrument.
2. The apparatus of claim 1, where the music sequence is a MIDI file.
3. The apparatus of claim 1, where the source of a music sequence is digital media.
4. The apparatus of claim 2, where the digital media is selected from the group of compact flash cards, or SD cards.
5. A controller for playing an automated musical instrument in synchronism with an audio track from a CD, including, a CD drive; a CD subsystem; a microprocessor; memory storing a music sequence; the CD drive in communication with the microprocessor and the CD subsystem, the CD drive providing the CD subsystem with digital audio data from the audio track of a CD, and providing the microprocessor with information regarding identity of the audio track; the CD subsystem including a digital to analog converter to convert the digital audio data into an analog signal for transmission to a transducer; the CD subsystem in communication with the microprocessor and providing the microprocessor with information regarding the time progress of processing the digital audio data; the microprocessor in communication with the memory storing a music sequence, the microprocessor sending the music sequence to the automated musical instrument based on the time progress of processing the digital audio data.
6. The apparatus of claim 5, wherein the music sequence is a MIDI file including time stamped articulation events.
7. The apparatus of claim 5, wherein the microprocessor sends the events in music sequence to the automated musical instrument at a discreet time prior to the time called for by the time stamp for the event.
8. The apparatus of claim 7, wherein the discreet time is between 100 msec and 500 msec.
9. The apparatus of claim 1, wherein the microprocessor sends the events in music sequence to the automated musical instrument at a discreet time prior to the time called for by the time stamp for the event.
10. The apparatus of claim 9, wherein the discreet time is between 100 msec and 500 msec.
11. A method of playing in synchronism digital audio data and an automated musical instrument, the method including the steps of: providing a music sequence having time stamped articulation events, providing digital audio data; converting the digital audio data into an analog signal and sending the analog signal to a transducer to convert the signal into an audible signal; monitoring the progression of the conversion of the digital audio data to establish a time base; referencing the time base and sending the articulation events to the automated musical instrument in accordance with the time stamps as the time base progresses.
12. The method of claim 11, wherein the articulation events are advanced a discreet period of time.
13. The method of claim 12, wherein the discreet period of time is between 100 msec to 500 msec.
14. The method of claim 11, where the digital audio data is on a CD, the digital audio data having a sampling rate of 44.1 kHz.
15. The method of claim 14, wherein the CD includes a Volume ID and track number information, and the music sequence includes information regarding a Volume ID and a track number the method including the further step of comparing the Volume ID of the CD to the Volume ID of the music sequence and determining if the Volume IDs match.
16. The method of claim 15, including the step of selecting the music sequence from a plurality of music sequences, reading the track number of the selected music sequence, and selecting for conversion into an analog signal, the digital audio data on the CD having the same track number.
17. The method of claim 11, where the music sequence is authored to accompany the digital music data.Description
RELATED APPLICATIONS
[0001] This application claims priority to U.S. Provisional application 60/713,936, which is incorporated herein by reference.
FIELD OF THE INVENTION
[0002] This invention relates to the area of automated musical instruments, particularly pianos, the invention also relates to the method of creating or authoring music sequences files for use with the automated musical instrument.
BACKGROUND OF THE INVENTION
[0003] Automated musical instruments, such as pianos, are well known in the art. Such instruments are typically acoustic instruments that use mechanical actuators to operate the instrument. The actuators receive commands of articulation events or music sequences to control or play the instrument. The music sequences are delivered to the instrument by a controller. There have been a number of attempts to have an automated instrument play in synchronization or accompaniment with a prerecorded CD or hard drive. Such attempts are described in U.S. Pat. Nos. 5,138,925, 5,300,725, 5,148,419 and 5,313,011. In order allow for synchronous play, those previous attempts rely upon timing information presented on a sub-channel of the CD to provide a common time frame for both the music sequences and the CD audio to reference. While such an arrangement is sufficient, it suffers from the limited resolution offered by the timing information of the CD sub-channel. The timing information of the CD sub-channel has a period or resolution of 13 milliseconds, which is not accurate enough for some piano sequences. The present invention described herein uses the timing inherent in the CD audio data as the time reference. By the use of this technique, the timing can have a period or resolution of 22.7 microseconds based upon the sample rate of 44.1 kHz of the digital audio data of the CD
[0004] While listening to the automated instrument playing alone is entertaining for the user, some users desire to have the instrument play along with a commercial recording of a musical selection, thus allowing the user to experience the recorded selection accompanied by a live automated instrument.
[0005] In early products for playing an automated piano in synchronism with a CD, the CD media contained music sequences that were pre-synchronized to a digital accompaniment music track encoded as linear PCM. For instance, the audio music track would be encoded as PCM on the left channel of the CD, and the music sequence, encoded as MIDI, would be encoded on the right channel. In the invention described herein, the system utilizes off the shelf commercially recorded CD, and music sequences specifically authored to play in synchronism with the musical selections on the CD. The music sequences are generally MIDI files stored on removable media such as SD cards and the like. One skilled in the art will recognize that there are many ways to deliver the music sequences, such as MIDI files, to the consumer and ultimately to the controller of the automated musical instrument, and SD cards are but one example.
SUMMARY OF THE INVENTION
[0006] The system described herein includes a controller for delivering the music sequences to the automated musical instrument. The controller is also in communication with a drive capable...
Music Processing System Including Device for Converting Guitar Sounds to Midi Commands2010-03-03 00:00:00Abstract text
A device is disclosed for converting guitar sounds to MIDI commands. The device has 7 microcontrollers. Each guitar string's oscillations are filtered and amplified with input filters and input amplifiers. The conditioned string signal is directed to an input of an associated microcontroller and converted to a MIDI command. Each string has an input filter and amplifier, and a microcontroller that converts the string oscillations into a MIDI command. MIDI commands from all six microcontrollers are received and processed by a main microcontroller that transmits the commands to the MIDI interface of a musical instrument with additional modification, if needed.Claims
1. A device for converting guitar sounds to MIDI commands comprising:a low capacity microcontroller associated with each guitar string, the low capacity microcontroller being configured to convert filtered and amplified signals oscillations from a guitar string to a corresponding MIDI command; anda main microcontroller operatively connected to the low capacity microcontroller, the main microcontroller being configured to receive and collect MIDI commands generated by the low capacity microcontrollers, modify the MIDI commands, and transmit the modified MIDI command to the MIDI interface of a musical instrument.
2. The device of claim 1 wherein:each low capacity microcontroller comprises: (i) an input adapted to receive the amplified and filtered signals from the guitar string, (ii) an output adapted to transmit a MIDI command corresponding to the amplified and filtered signal from the low capacity microcontroller to the main microcontroller, an (iii) output adapted signal the main microcontroller that the low capacity microcontroller has a MIDI command to be transmitted to the main microcontroller, and (iv) an input adapted to receive a signal from the main microcontroller to transmit a MIDI command.
3. The device of claim 1 wherein:the main microcontroller comprises: (i) an input adapted to receive a signal from the low capacity microcontroller that the low capacity microcontroller has a MIDI command to be transmitted to the main microcontroller; (ii) an output adapted to transmit a signal from the main microcontroller to each low capacity microcontroller to transmit a MIDI command from the low capacity microcontroller to the main microcontroller; and (iii) one input for receiving MIDI commands sent by each low capacity microcontroller.Description
RELATED APPLICATION DATA
[0001]This application is a continuation in part of U.S. application Ser. No. 11/873,970, filed Oct. 16, 2007, currently pending, and claims priority to Serbian Patent application ser. no. 2007-0015, filed Feb. 5, 2007, and the benefit of provisional application Ser. No. 61/019,039 filed Jan. 4, 2008, the disclosures all of which are incorporated by reference herein.
BACKGROUND
[0002]This disclosure generally pertains to a music processing system that converts sound from musical instruments into an electronic data format. More specifically, this invention pertains to a system and method that converts sound generated by musical instruments to a form to be used in electronic media based on a first harmonic of an input signal. In one embodiment, the data format is the Musical Instrument Digital Interface (MIDI) format.
[0003]For years digital keyboard players enjoyed unparalleled flexibility and functionality in interfacing and composing with their computers, such as the ability to instantly create notation and change sounds generated by their instruments with the push of a button. The music processing system described herein offer this flexibility and functionality to guitarists as well as the ability to use a guitar with computer games. The methods and apparatus described may comprise a pick-up and converter that attaches directly to any electric, acoustic electric or acoustic guitar, thereby making a user's guitar fully plug and play compatible with Windows XP or higher as well as Mac OSX. Preferably, no driver installation is necessary.
[0004]The music processing system described herein may be adapted for use with Guitar Wizard, a game that allows users to jam along to popular songs while learning to play a real guitar. Guitar Wizard teaches aspiring musicians everything from single note picking to complex chords and strumming techniques. Modem Digital Audio Workstation (DAW) software, such as Sony Acid鈩?Music Studio and Apple GarageBand harness the power of PCs, allowing musicians to play samples and software instruments. With the music processing system described herein, guitarists can control these programs to play sampled sounds and synthesized instruments such as a keyboard or piano, a different style guitar, drums or a woodwind instrument. Using the music processing system described herein, guitarists can compose a complete masterpiece controlling and recording each instrument from trumpets to tympanis using their guitar.
[0005]Using the music processing system described herein, users will enjoy the ability to connect a real guitar to console systems bridging the gap between gaming and reality. For instance, using the music processing system described herein, one may be able to: use a guitar to connect with a computer, operating with for instance Windows XP and/or Mac OSX; learn to play guitar; record, compose and edit music easily; arrange with flexibility and control; and convert recorded songs into sheet music. As described below, the pick-up and control components of the music processing system mount on any guitar and preferably recognizes and transmits specific instructions for each individual note played on the guitar, thereby allowing for great flexibility in playing and recording. This is conveyed simply as a list of events which describe the specific steps that a soundcard, program or other device use to generate the specific sound. At its simplest the language would indicate for example `Middle C on" at a specific time along with the volume of the note--then it would indicate "Middle C off" at a later time. Any number of other commands can be added to make it as expressive as desired.
[0006]Thus, the music processing system may allow the user to make his or her guitar sound like another instrument. With the system, a guitar can sound like anything: a keyboard or piano, a completely different style guitar or a guitar with any number of different effects applied, a woodwind or brass instrument or the human voice. Each note can even be assigned to play a different recorded clip or sound effect. Different or "drop" tunings are simple because the note or tuning of the guitar need not be changed. The instructions for playing the note are simply "transposed" to the desired note in accordance with the desired tuning. The language of the music processing system is very specific as to what note is being played down to the specific fret on each string. This information can be used in conjunction with a learning program to teach guitar. Since each string is tracked individually this can be a very complex and robust application, teaching everything from single note picking to complex chords and strumming techniques.
[0007]Furthermore, the instructions generated can optionally be recorded on a computer memory. This allows recorded instructions to be edited using computer software. A single note within a recorded song is easily adjusted because all that is changed is the instruction for that specific note. To change or delete a note or passage in a regular recording would require clipping out the undesirable portion and re-recording--not an easy task as precision is next to impossible yet required. An embodiment described herein also allows for easy tempo changes of a recorded performance. The instruction is simply adjusted to change the tempo, thereby avoiding pitch change when a recording slowed down. Editing recorded music is simple using computer software--drag and drop functionality may be provided to edit individual notes. Shorten or lengthen a note simple by clicking on it and changing its duration. Using software, the user can change the whole recording to a new key using the same principle described above regarding alternate tunings. Users can cut and paste a section for use later in the song. File size is small because the methods described herein store instructions for playing a note, not sampling and digitizing the actual note or sound wave. This saves storage space on a hard drive. For example a sampled or digitized 1 minute clip requires about 10 Megabytes of data. The same 10 seconds with the music processing system only requires 10 Kilobytes for the same 1 minute clip. Many files that are already recorded in this language have tracks that are separated from the rest of the tracks making it easy to listen to just one instrument track and study it to learn more about it or how to play it. Then this track can be muted, played over to practice playing the song or for a live performance with backing tracks. One may print out actual sheet music of what has been recorded. It is very simple to convert the recorded instructions into musical notation. One may also create a ring tone for a cell phone.
[0008]The music processing system can be used to trigger much more than notes. The instructions for turning a note on and off and other such commands can optionally be used to activate any action or event within a program or computer game. Many prerecorded elements such as loops or tracks can be triggered on a computer program turning them on and off as backing tracks for example. These elements can also be turned on and off building them to create a song by selecting each individual element by playing a single note. Events can optionally be triggered in games. Playing a specific note or notes can be used for a game such as Guitar Hero鈩?or other similar game. It can be as simple as the current offerings or as complex as a real-world guitar performance. Notes could even be used to move a character around the screen. Embodiments of the present invention can also be used in conjunction with a wide variety of musical equipment. Most electronic musical equipment supports one of the various versions of the MIDI format.
[0009]One using the technology disclosed herein can achieve sound electronically using any classical instruments or any sound source. One method disclosed herein includes analyzing sound from the sound source, and then generating an appropriate sound electronically based on the detection of the first harmonic of the input signal. The second method disclosed herein requires fast and precise first harmonic period determination from the signals generated by a classical instrument, and then the measured period may be transformed to digital information acceptable by electronic instruments to generate sound electronically. Algorithms for transforming the measured period into digital information are disclosed in a co-pending patent application entitled "Adaptive Triggers Method for Signal Period Measuring," U.S. application Ser. No. 11/873,970, filed Oct. 17, 2007, the disclosure of which is incorporated by reference herein. However, other tone detection methods known in the art may also be used. Such algorithms, which for instance provide a solution for transforming guitar sounds to MIDI commands, require powerful thirty-two bit microprocessors and/or DSP processors, as will be described below.
SUMMARY OF THE INVENTION
[0010]One embodiment relates to a controller for a guitar. In the controller, a plurality of small capacity microcontrollers are used. For functions related to analyzing sounds generated by a guitar string, detecting basic harmonics, and generating MIDI information, one small capacity microcontroller is used for each guitar string. Electrical signals generated by one guitar string include oscillations that are filtered and amplified by analog filters and analog amplifiers. The filtered and amplified signal is directed to one of the input pins of the small capacity microcontroller. The small capacity microcontroller is programmed to analyze and detect the input sound signal generated by each guitar string, for instance, by using the methods disclosed in U.S. application Ser. No. 11/873,970. The methods also enable the microcontroller to generate an output MIDI command corresponding to the input signal. The MIDI command may be generated when the microcontroller detects the sound signal, or when the input signal is lost during monitoring of the sound signal. When a MIDI command is ready to be transmitted, the small capacity microcontroller signals a main microcontroller and waits for the main microcontroller to signal the small capacity microcontroller to allow the MIDI message to be transmitted to the main microcontroller. The main microcontroller collects MIDI messages from all six small capacity microcontrollers, modifies the received MIDI commands, if needed, and sends a new the MIDI message over the MIDI interface to an electronic instrument with an MIDI interface.
BRIEF DESCRIPTION OF DRAWINGS
[0011]FIG. 1a shows a graph of input signal amplitude measured over time;
[0012]FIG. 1b shows a graph of the calculation of maximum input signal amplitude and minimum input signal amplitude over time;
[0013]FIG. 1c shows a graph of the change in time of the positive and negative trigger value that is concurrently calculated with maximum input signal amplitude calculation;
[0014]FIG. 1d show a graph of the change in time of the positive trigger value calculated at a point in time when the input signal value becomes less than the negative trigger value and the change in time of the negative trigger value calculated at a point in time when the input signal value becomes greater than the positive trigger value;
[0015]FIG. 2 shows a flow chart of the method described in this document where positive and negative trigger values are concurrently calculated with maximum and minimum input signal amplitude calculation;
[0016]FIG. 3 shows a flow chart of the method described in this document where positive and negative trigger variable are calculated at a point in time where the input signal becomes greater then positive trigger or becomes less then negative trigger;
[0017]FIGS. 4 to 15 show changes over time of a microcontroller's registers;
[0018]FIG. 16 shows an overall view of an exemplary embodiment of the music processing system, including a guitar with a pick-up, a controller and a computer;
[0019]FIG. 17a-17b show various detailed views of a pick-up of FIG. 16.
[0020]FIG. 18 shows an exemplary circuit schematic for the electrical output of the pick-up of FIG. 17.
[0021]The schematic diagram of FIG. 19 shows an input filter and amplifier for a guitar high E string;
[0022]The schematic diagram of FIG. 20 shows an input filter and amplifier for a guitar B string;
[0023]The schematic diagram of FIG. 21 shows an input filter and amplifier for a guitar G string;
[0024]The schematic diagram of FIG. 22 shows an input filter and amplifier for a guitar D guitar string;
[0025]The schematic diagram of FIG. 23 shows an input filter and amplifier for a guitar A string;
[0026]The schematic diagram of FIG. 24 shows an input filter and amplifier for low E guitar string;
[0027]The schematic diagram of FIG. 25 shows one of six like low-capacity microcontrollers associated with one of circuits shown in FIGS. 19-24 that is used for processing the output of one of the circuits shown in FIGS. 19-24 using the techniques shown graphically in FIGS. 1-15;
[0028]The schematic diagram of FIG. 26 shows a digital logic circuit for collecting data from 6 low-capacity microcontrollers in an exemplary embodiment.
[0029]The schematic diagram of FIG....
Electronic device to detect and generate music from biological microvariations in a living organism2010-03-02 00:00:00AbstractA method and apparatus are provided for using microvariations of a biological living organism to generate a sequence of environmental changes perceptible through one of the human senses. The method includes the steps of transforming microvariations within a living organism into an analog electrical signal and generating the sequence of environmental changes perceptible through the human senses based on said analog signal. The sequence of changes can include the generation of music based on the signal, or the control of lighting, aromas, or air movement in the environment of the organism. One example application is the generation of music from electrical microvariations detected in a house plant.Claims
What is claimed is:
1. A method of using microvariations of a biological living organism to generate a sequence of environmental changes perceptible through one of the human senses, such method comprising the steps of:
transforming microvariations within a living organism into an analog electrical signal; and
generating the sequence of environmental changes perceptible through the human senses based on said analog signal.
2. The method of claim 1, wherein the step of generating the sequence of environmental changes further comprises generating music in an environment of said organism.
3. The method of claim 1, wherein the step of generating the sequence of environmental changes further comprises generating a sequence of different lighting conditions in an environment of said organism.
4. The method of claim 3, wherein the step of generating the sequence of different lighting conditions further comprises generating a sequence of different lighting intensities in the environment of said organism.
5. The method of claim 3, wherein the step of generating the sequence of different lighting conditions further comprises generating a sequence of different lighting color spectrums in the environment of said organism.
6. The method of claim 1, wherein the step of generating the sequence of environmental changes further comprises generating a sequence of different moisture levels in an environment of said organism.
7. The method of claim 1, wherein the step of generating the sequence of environmental changes further comprises generating a sequence of air movement conditions in an environment of said organism.
8. The method of claim 7, wherein the step of generating the sequence of air movement conditions further comprises controlling a fan speed.
9. The method of claim 7, wherein the step of generating the sequence of air movement conditions further comprises controlling the orientation of a fan.
10. The method of claim 1, wherein the step of generating the sequence of environmental changes further comprises generating a sequence of different aroma conditions in an environment of said organism.
11. The method of claim 10, wherein the step of generating the sequence of different aroma conditions in the environment of said organism further comprises evaporating a sequence of different aroma chemicals into the air in the environment of said organism.
12. The method of claim 10, wherein the step of generating the sequence of different aroma conditions further comprises Varying over time the evaporation rate of an aroma chemical in the environment of said organism.
13. The method of claim 1, where the step of generating the sequence of environmental changes based on said analog signal comprises:
periodically converting said analog signal to a digital signal using an analog to digital converter;
utilizing said periodically converted digital signal as an input to a sequence generating program running on a microprocessor; and
outputting digital environmental control data from said microprocessor.
14. The method of claim 13, wherein the step of generating the sequence of environmental changes further comprises generating music in the environment of said organism.
15. The method of claim 14, wherein said digital environmental control codes comprise MIDI synthesizer control codes.
16. The method of claim 15, further comprising the step of controlling a MIDI music synthesizer with said MIDI synthesizer control codes.
17. The method of claim 14 wherein said digital environmental control codes comprise compact disc player control codes, and further comprising the step of controlling the sequence of musical tracks played on a compact disc player using said compact disc player control codes.
18. The method of claim 14 wherein said digital environmental control codes comprise music volume control codes, and further comprising controlling the volume of a music source through said music volume control codes.
19. The method of claim 13, wherein the step of generating a sequence of environmental changes further comprises generating a sequence of air movement conditions in an environment of said organism.
20. The method of claim 19, wherein the step of generating a sequence of air movement conditions in the environment of said organism comprises controlling a fan speed.
21. The method of claim 19, wherein the step of generating a sequence of air movement conditions in the environment of said organism comprises controlling the orientation of a fan.
22. The method of claim 13, wherein the step of generating a sequence of environmental changes further comprises generating a sequence of different moisture levels in an environment of said organism.
23. The method of claim 13, wherein the step of generating a sequence of environmental changes further comprises generating a sequence of different aroma conditions in an environment of said organism.
24. The method of claim 23, wherein the step of generating a sequence of different aroma conditions further comprises evaporating a sequence of different aroma chemicals into the air in an environment of said organism.
25. The method of claim 24, wherein the step of generating a sequence of different aroma conditions in the environment of said organism comprises varying over time the evaporation rate of an aroma chemical in the environment of said organism.
26. The method of claim 13, wherein the step of generating a sequence of environmental changes further comprises generating a sequence of different lighting conditions in an environment of said organism.
27. The method of claim 26, wherein the step of generating a sequence of different lighting conditions in the environment of said organism comprises generating a sequence of different lighting intensities in the environment of said organism.
28. The method of claim 13, wherein the step of generating a sequence of different lighting conditions further comprises generating a sequence of different lighting color spectrums in the environment of said organism.
29. The method of claim 13, further comprising:
providing a digital feedback signal from said microprocessor;
applying said digital feedback signal to a DAC to produce an analog feedback signal;
using said analog feedback signal to level-shift the range of the analog signal applied to said analog to digital converter; and
periodically updating said digital feedback signal to keep said analog signal in-range for said analog to digital converter.
30. An apparatus that uses microvariations of a biological living organism to generate a sequence of environmental changes perceptible through one of the human senses, such apparatus comprising:
means for transforming microvariations within a living organism into an analog electrical signal; and
means for generating a sequence of changes perceptible through the human senses based on said analog signal.
31. The apparatus of claim 30, wherein the means for generating the sequence of environmental changes further comprises means for generating music in an environment of said organism.
32. The apparatus of claim 30, wherein the means for generating the sequence of environmental changes further comprises means for generating a sequence of different lighting conditions in the environment of said organism.
33. The apparatus of claim 32, wherein the means for generating the sequence of different lighting conditions further comprises means for generating a sequence of different lighting intensities in the environment of said organism.
34. The apparatus of claim 32, wherein the means for generating the sequence of different lighting conditions further comprises means for generating a sequence of different lighting color spectrums in the environment of said organism.
35. The apparatus of claim 30, wherein the means for generating the sequence of environmental changes further comprises means for generating a sequence of different moisture levels in the environment of said organism.
36. The apparatus of claim 30, wherein the means for generating the sequence of environmental changes further comprises means for generating a sequence of air movement conditions in the environment of said organism.
37. The apparatus of claim 36, wherein the means for generating the sequence of air movement conditions further comprises means for controlling a fan speed.
38. The apparatus of claim 36, wherein the means for generating the sequence of air movement conditions further comprises means for controlling the orientation of a fan.
39. The apparatus of claim 30, wherein the means for generating the sequence of environmental changes further comprises means for generating a sequence of different aroma conditions in the environment of said organism.
40. The apparatus of claim 39, wherein the means for generating the sequence of different aroma conditions in the environment of said organism further comprises means for evaporating a sequence of different aroma chemicals into the air in the environment of said organism.
41. The apparatus of claim 39, wherein the means for generating the sequence of different aroma conditions further comprises means for varying over time the evaporation rate of an aroma chemical in the environment of said organism.
42. The apparatus of claim 30, where the means for generating the sequence of environmental changes based on said analog signal comprises:
means for periodically converting said analog signal to a digital signal using an analog to digital converter;
means for utilizing said periodically converted digital signal as an input to a sequence generating program running on a microprocessor; and
means for outputting digital environmental control data from said microprocessor.
43. The apparatus of claim 42, wherein the means for generating the sequence of environmental changes further comprises means for generating music in the environment of said organism.
44. The apparatus of claim 43, wherein said digital environmental control codes comprise MIDI synthesizer control codes.
45. The apparatus of claim 44, further comprising the controlling a MIDI music synthesizer with said MIDI synthesizer control codes.
46. The apparatus of claim 43 wherein said digital environmental control codes comprise compact disc player control codes, and further comprising the means for controlling the sequence of musical tracks played on a compact disc player using said compact disc player control codes.
47. The apparatus of claim 43 wherein said digital environmental control codes comprise music volume control codes, and further comprising means for controlling the volume of a music source through said music volume control codes.
48. The apparatus of claim 42, wherein the step of generating a sequence of environmental changes further comprises means for generating a sequence of air movement conditions in an environment of said organism.
49. The apparatus of claim 48, wherein the means for generating a sequence of air movement conditions in the environment of said organism comprises means for controlling a fan speed.
50. The apparatus of claim 48, wherein the means for generating a sequence of air movement conditions in the environment of said organism comprises means for controlling the orientation of a fan.
51. The apparatus of claim 42, wherein the step of generating a sequence of environmental changes further comprises means for generating a sequence of different moisture levels in an environment of said organism.
52. The apparatus of claim 42, wherein the means for generating a sequence of environmental changes further comprises means for generating a sequence of different aroma conditions in an environment of said organism.
53. The apparatus of claim 52, wherein the means for generating a sequence of different aroma conditions further comprises means for evaporating a sequence of different aroma chemicals ...
Magnetic pickup for stringed musical instrument2010-03-01 00:00:00AbstractA magnetic pickup for a stringed instrument has one or two coils juxtaposed with the strings each coil having an inner polepiece disposed centrally therein. A single polarity is induced in each inner polepiece by two bar magnets, one at each side of the polepiece externally of the coil. An outer polepiece is magnetically coupled to an outside edge of each of the bar magnets and extends toward the strings. Each polepiece has a preselected shape, with an upper edge which is either continuous, or discontinuous with a plurality of pole legs, one common to each string of the musical instrument. The distance between the pickup and strings is adjustable to select a desired response. When pole legs are used, they are selectable in height by shearing off the distal end of each leg to obtain a selected pickup sensitivity for each string.ClaimsI claim as my invention:
1. A magnetic pickup for a musical instrument having a plurality of strings, comprising:
(a) a coil common to said strings;
(b) an inner ferromagnetic polepiece common to said strings and partially disposed in said coil;
(c) magnet means common to said strings and magnetically coupled to said inner polepiece and inducing a single polarity in said inner polepiece; and
(d) at least one flat outer ferromagnetic polepiece magnetically coupled to the magnet means outside of said coil and having a polarity opposite to that of the nearest portion of said inner polepiece.
2. A magnetic pick-up according to claim 1 in which said inner polepiece has a plurality of pole legs integrally formed with each other, there being one pole leg for each string.
3. A magnetic pickup according to claim 1 in which said outer polepiece is common to said strings and has a uniform length and uniform height.
4. A magnetic pickup according to claim 1 in which said outer polepiece has a segmented surface below the instrument strings in the form of pole legs with a continuous transition from the upper end of one pole leg to the upper end of the nextpole leg.
5. A magnetic pickup according to claim 1 in which the upper edge of said outer polepiece is a curved surface below the instrument strings extending transversely to their length.
6. A magnetic pickup according to claim 1 in which said magnet means comprises at least two magnets positioned on different sides of said inner polepiece and each magnet having oppositely directed poles facing in a direction parallel to thelength of the strings.
7. A magnetic pickup according to claim 1 in which a case having three mounting tabs surrounds the pickup, said case being connected to the instrument by at least three adjusting screws for providing a height and tilt adjustment.
8. A magnetic pickup according to claim 1 in which said, inner polepiece has a uniform length and a uniform height.
9. A magnetic pickup according to claim 1 in which said inner polepiece is flat and is of uniform thickness.
10. A magnetic pickup according to claim 1, said coil comprising two coils connected in series out of phase relationship at one side of said magnet means, said inner polepiece comprising two of said inner polepieces respectively disposed in saidtwo coils, and said magnet means comprising an inner and two outer magnets, the outer magnets being disposed outside said inner polepieces and said inner magnet being disposed between said inner polepieces.
11. A magnetic pickup according to claim 10 in which said outer polepiece comprises two of said outer polepieces respectively positioned in contact with each of said two outer magnets and having polarities opposite to each other.
12. A magnetic pickup according to claim 2 in which said outer polepiece has a plurality of pole legs of a height equal to that of said pole legs of said inner polepiece.
13. A magnetic pickup according to claim 12 in which the distal end of at least one pole leg has been removed to effect a fixed height different from at least one of the other pole legs.
14. A magnetic pickup for a musical instrument having strings, comprising:
(a) a coil common to a plurality of the strings;
(b) a flat inner ferromagnetic polepiece of uniform thickness common to said strings and partially disposed in the coil;
(c) magnet means common to said strings and magnetically coupled to said inner polepiece and inducing a single polarity in said inner polepiece; and
(d) two flat separate outer ferromagnetic polepieces common to a plurality of the strings, each being magnetically coupled to said magnet means and disposed on opposite sides of said coil.
15. A magnetic pickup for a musical instrument having strings, comprising:
(a) coil means common to a plurality of the strings;
(b) a flat inner ferromagnetic polepiece of uniform thickness disposed in the coil and common to the plurality of the strings, said inner polepiece having a corresponding plurality of integral pole legs, there being one pole leg for each stringand all said pole legs having the same height;
(c) magnet means magnetically coupled to said inner pole-piece to induce a single polarity in each pole leg; and
(d) two flat separate outer ferromagnetic polepieces common to the plurality of strings, each being magnetically coupled to said magnet means and disposed on opposite sides of said coil means, said outer polepiece each having one pole leg perstring and all of said outer polepiece pole legs having the same height
16. A magnetic pickup for a stringed musical instrument, having a plurality of ferromagnetic strings supported generally in a single plane in side by side relation, comprising:
(a) a coil;
(b) a flat permanent magnet juxtaposed with said coil for inducing magnetic flux within said coil and within a plurality of said strings; and
(c) a plurality of separate flat polepieces magnetically coupled with said permanent magnet and shaped to form a plurality of paths for magnetic flux through the turns of said coil, each of said paths including one of said strings, at least oneof said polepieces being a thin flat sheet of ferromagnetic material juxtaposed with said permanent magnet and disposed in a plane generally normal to the plane of said strings, said sheet having...
